22/10/2024
LINN KLIMAX DSM
English Review
The Technology of Emotions
Welcome to the pages of AudioStar, a special section within AudioGallery, a magazine dedicated to the crème de la crème of audio technology. When you’re dealing with an AudioStar product, keeping things orderly and rational is a challenge. Emotions tend to take the driver’s seat. It’s important to clarify that we don’t preemptively choose AudioStar products based on predetermined criteria. Instead, they’re selected by… well, acclamation from a select panel—namely, the Director, myself, and maybe one or two others—who agree the product is worthy of this accolade.
The key requirement is that excellence must be demonstrated across multiple areas: performance, technology, sound quality, and aesthetics. Additionally, the product must be innovative and mark a significant departure from what came before. The next-generation Linn Klimax DSM certainly ticks all these boxes—and does so with such authority that it’s tough to know where to begin telling its story.
This Scottish DAC/streamer arrived at my house after spending enough time in the Director’s system to evoke something akin to infatuation. Not quite love, but close—just a more measured and rational kind. Already, this seemed like an interesting starting point. Since a few days passed between the shipping announcement and its arrival, I spent that time researching the Klimax DSM to refresh my memory.
First, I wasn’t mistaken about the name—I’d heard it a long time ago. Strangely, this model replaces another with the exact same name, but it’s completely different in terms of design and technical specs. That previous model was one of the first, if not the first, DAC/streamers, dating back to 2007.
A Little History
In 2009, Linn Products announced they would stop making their own CD players at a time when the format seemed to be thriving. It’s important to note that Linn had been producing critically acclaimed CD players, including the Sondek CD12. The reason behind this bold move came from Linn’s founder, Ivor Tiefenbrun, who believed the CD’s days were numbered. He’d already launched the Klimax DS network music player back in 2007.
Nowadays, streamers are mainstream, but they certainly weren’t back in 2007. Most audiophiles—myself included—had no clue what they were. And the sound from those early devices? Not great, partly due to the low bitrates—most were running at 96 kbps compared to the CD’s 1,411 kbps. True to Linn’s philosophy, that original Klimax stayed in production until last year, receiving various updates over the years (in 2011, 2015, and 2016) focused mainly on its DAC section. These upgrades were also made available for older models, which deserves applause. This long-term commitment protects the substantial investments of Linn’s customers.
No exception to this rule, the DAC section of the current Klimax DSM is called Organik—and that’s where we’ll begin discussing the tech behind this incredible device.
Construction
Up until the previous generation, dubbed Katalyst, Linn relied on third-party chips—AKM, in particular—for its A/D decoding sections. The design effort focused on power supplies, clocks, output stages, and optimizing data flow. However, the Scottish engineers seemed to have reached the limits of this approach. So with Organik, they switched to a system based on an FPGA (Xilinx Artix-7 Field Programmable Gate Array) that handles upsampling, signal modulation, and volume control. This is followed by a discrete DAC section that uses 16 flip-flop switches per channel to convert the digital signal into analog.
Other manufacturers using discrete components often create R2R DACs. But Linn states that:
“Organik is unique in its design, ex*****on, and implementation. It’s a paradigm shift, no longer constrained by the need for the extreme accuracy in component selection and matching that you find in an R2R/ladder DAC. Instead, its innovative design is based in the time domain.”
To ensure the shortest signal paths possible, Linn developed a complex eight-layer double-sided printed circuit board (PCB). This ensures all paths between the FPGA and the switches are the same length, even though the switches are physically positioned at slightly different distances. Each switch has its own local power supply, and the entire process is controlled by an ultra-low-jitter femto clock to minimize timing errors. The result is a DAC with lower noise and distortion compared to any previous Linn device, including the well-regarded DAC in the earlier Klimax DSM.
The Klimax DSM supports DSD256 and PCM up to 384 kHz/24-bit, although MQA in its various forms is not included. Interestingly, I learned from Linn’s online videos that the company manufactures its complex PCBs in-house, as well as assembles the components—tasks usually outsourced to specialized companies.
The Chassis
Typically, reviews of audio equipment say things like “the case is well-made, sturdy, aesthetically pleasing, and ergonomically designed.” While accurate, none of these descriptions do justice to the beauty of the Linn Klimax DSM’s chassis. For starters, the main body is carved from a solid block of aluminum, with internal walls separating the analog, digital, and power sections. The power supply, in turn, is housed in a sort of “sarcophagus” near the front panel. This design aims to minimize any unwanted electromechanical interactions that could impact performance. The cabinet is also dampened internally to reduce the effects of external vibrations, which is further aided by its impressive 16.4 kg mass.
Externally, the level of finish is so immaculate that it feels wrong to place the unit in an equipment rack. I couldn’t bring myself to do it and instead set it on a vintage AudioTech table I’d dug out for the occasion. There, the Klimax DSM sat, commanding admiration throughout its stay in my home.
In this privileged setup, I noticed some standout details: the almost complete absence of screws (no joke—there are only two on the back), the edges so sharp they could cut you, and the wonderfully legible alphanumeric display—no fancy graphics, thank you. Anything beyond this would detract from the understated design. The front panel, when the display is off, turns into a mirror. Finally, there’s an elegant central support element that continues over the top panel, almost “piercing” the unit, and ends in the precisely cut glass volume k**b, inside which are positioned one hundred (!) tiny LEDs that light up according to the set volume level.
While this volume k**b is responsive and pleasant to use, it’s a bit less practical when employed as a joystick to navigate hierarchical menus. The control app proves far more convenient for that. On the front edge, you’ll find six buttons, each programmable to link to a specific source or input. For example, I linked one to Qobuz, another to one of my NAS drives, and another to the USB input, where I connected my PC. It’s a clever, practical feature for daily use.
The Klimax DSM comes in two color variants: Silver (the one I tested) and Black. Both feature a finely engraved circular pattern on the top panel (see the opening photo). At first, I wondered about the purpose of this design. Then, after some reading, I realized it’s a nod to the spiral grooves of a vinyl record. It’s as if the company is saying, “Remember, this company’s roots are in analog, specifically in the venerable Sondek LP 12.” Honestly, this little detail—which has been praised by the international press—is the only thing that didn’t resonate with me in what is otherwise a thoroughly impressive package. But as they say, de gustibus, so let’s move on.
The Rear Panel and Different Variants
Before I get into the rear panel, I should mention that the Linn Klimax DSM comes in three versions. The one I reviewed is intended to be used as a digital source in a stereo two-channel setup. It can access music via the home network (preferably wired, though there’s also Wi-Fi 802.11ac) from NAS units or stream from Tidal, Qobuz, Spotify Connect, TuneIn, or Calm Radio. For added flexibility, there’s also Bluetooth (version 4.2) and AirPlay 2 support. The Klimax DSM also functions as a Roon endpoint, inheriting the Roon Tested certification from the previous version.
The AV variant adds four HDMI 2.0 ports and a single eARC output to the list of features. Finally, the System Hub version is designed specifically to operate within an all-Linn system, connecting to the rest of the setup via Linn’s proprietary Exakt link.
Returning to the rear panel, it’s divided horizontally into two sections, which reflects the logical placement of the respective boards. The digital inputs are what you’d expect on a machine of this caliber: two S/PDIF coaxial, one Toslink, one USB Type B, one Ethernet (1,000BASE-T RJ45), and one optical Ethernet (SFP socket), which I tested on my network’s fiber backbone. There are three analog inputs: one XLR and two RCA. If you’re wondering what those are for, well, it’s simple: the Linn Klimax DSM isn’t just a streamer; it’s a Network Music Player and Integrated Pre-amplifier. You can think of it as a preamp capable of handling both digital and analog sources, ready to drive a power amplifier directly.
Software
The various inputs I mentioned can be managed through a plastic remote control, which, truth be told, isn’t exactly on par aesthetically with the machine itself. However, I imagine most Linn Klimax DSM owners will prefer to use the Linn control app (for iOS; or Kazoo for Android, PC, and Mac). It’s well-designed, similar to the familiar Kazoo app but decidedly more polished. I appreciated the ability to configure the front-panel buttons through the app or activate/deactivate the available sources. Since I only use Qobuz and a couple of NAS devices set up to serve UPnP data, I was able to disable everything else, leaving me with a simple, customized interface. I also appreciated the seamless integration of Qobuz’s metadata, which made me miss Roon less—though the Klimax DSM performed perfectly with Roon anyway.
From what I gathered in the technical documentation, Linn envisions a scenario where customers rely on their dealer to configure the machine based on their specific needs. However, if you want to dig deeper into configuration—whether you’re a dealer or an end user—you’ll need to use the Konfig app (for Windows/MacOS), or log into your Linn account via a web browser to manage the system. In either case, you’ll have access to various configuration pages, firmware updates, and a range of other settings. These include naming the device, enabling/disabling inputs or outputs, defining start-up and shutdown behavior, display modes, and so on.
You can also access the Room Designer feature, where you can input, draw, or describe the geometry and finishes of your listening environment. Based on this data and the exact model of your speakers, Space Optimization 2 will adjust the output of the Linn Klimax DSM to optimize it for the room’s acoustic parameters. You can think of this software as a sophisticated equalization and digital delay system designed to minimize the issues introduced by the shape and materials of the listening room.
Unlike typical digital room correction systems, which rely on microphone measurements of the room’s acoustics, Linn’s approach requires the dealer or end user to input precise room dimensions and the location of any openings (windows and doors). In another step, the user selects their speakers from a substantial list of models by leading manufacturers, as well as their placement in the room. Based on this data, the software communicates with the DSM via the network and generates a custom filter that the user can immediately evaluate through listening tests.
As you might expect, Space Optimization 2 works only in the lower frequencies, as this is where most room-related issues arise. The goal is to optimize practical speaker placement rather than finding the “ideal” position. In other words, most audiophiles don’t have a dedicated listening room, so they can’t place their speakers in the ideal spot due to everyday constraints. Space Optimization 2 aims to solve this issue effectively, even allowing users to choose between a flatter or fuller low-end setting.
Listening Experience
I evaluated the Linn Klimax DSM in various configurations, all using Vivid Audio Kaya 90 speakers driven by Lamm M1.2 monoblock amplifiers. The first setup had the Scottish streamer/DAC also acting as a preamp, directly connected to the amps with its volume control enabled. In the other two configurations—my personal favorites—the preamp duties returned to a “physical” preamp, namely my Lamm L2 Reference or an Allnic Audio L-8500 OTL/OCL. Given the high level of the Klimax DSM, I spared no expense in the cabling, using AudioQuest ThunderBird for signal, William Tell Zero for speaker cables, and Tornado for power. As it’s a network streamer, I should note that I used a Fidelizer EtherStream switch.
A little confession: when it comes to digital setups, I tend to be, as we say around here, a bit “snobbish.” I’m so convinced of the quality of my home system that I’m not exactly warm and welcoming towards digital products that come in for review. My setup includes a serious DAC (PlayBack Design MPD-8) connected to two PCs (thanks, AudioLinux) with different roles, PCI cards with dedicated external power supplies, partial fiber optic cabling, various software, and so on. It’s a complex system that took a lot of time to perfect and requires a decent amount of know-how.
Then the Linn Klimax DSM arrives. I plug it in, hit play, and within the first few notes, I realize it’s on the same level—it’s playing in the same league as my system. The immediacy and ease of use left me floored. And then the wheels in my mental calculator started turning. Sure, the price of this product is staggering (unless you happen to be part of some oligarchy), but if I tally up all the gear I’ve assembled over the years for my digital setup, the difference isn’t that great. Let’s not dwell on that.
Before diving into the sound, I want to highlight one other point: the stability of the Linn Klimax DSM and the linearity of its user interface. During its stay in my home, it never froze, crashed, or needed to be reset or restarted. I never experienced those agonizing pauses typical of products with high computational content, where you’re left wondering if it’s “thinking” or just frozen. The apps and software are so simple that even the most tech-averse user could handle them. Connecting to both local and remote sources was immediate, and even when using third-party software like Conversdigital’s mConnect, the Klimax DSM kept performing flawlessly. It’s a testament to Linn’s decades of experience in this sector.
The Sound
As I mentioned earlier, a product like the Klimax DSM earns its AudioStar title not just on technical merits, but by proving itself in action. And for me, it took no more than a couple of hours before I felt compelled to hit the Golden Buzzer—like on Italia’s Got Talent. Why? I could sum it up by referencing the first track I played: “What You Didn’t Say” from guitarist Dominic Miller’s album Silent Light (ECM). The piece begins with an acoustic guitar repeating a simple phrase, soon followed by a soft, low percussion. That’s it. But those few guitar notes, played through the Klimax DSM, became a work of art. Not only were they there, right in front of me—tangible, luminous, dense—but they compelled me to listen to them over and over again, discovering details I’d missed in previous listens. And we’re not talking about an orchestra here—just a single instrument!
In a recent post, Paul McGowan, CEO of PS Audio, mentioned the concept of inner detail, the ability to reveal the most hidden aspects of a sound as if you were listening from inside it. The absence of this quality leads to sound that’s not exactly “blurred,” but something McGowan compares to trying to listen to a conversation in a crowded room. It’s not out of focus, but there’s a loss of intelligibility. If that’s the case, then one of the Klimax DSM’s strongest assets is its ability to make details intelligible, revealing layer upon layer of nuances that normally remain hidden. All this without sacrificing enjoyment—you can listen for hours without realizing it, lost in a dimension of pure musical bliss.
Let me give another example: From Gagarin’s Point of View, from Live in Gothenburg by the Esbjörn Svensson Trio (ACT Music). It opens with a solo by bassist Dan Berglund, before the main theme is introduced. In those meditative opening minutes, you can appreciate all the harmonic nuances of the instrument, the metallic scrape of the bow on the strings. But more than that, you’re transported into the recording space, thanks to the countless ambient details that the Klimax DSM brings to light—details I had honestly never noticed before.
Another moment: in Jean Sibelius’s Violin Concerto in D minor, Op. 47, performed by Leonidas Kavakos with the Lathi Symphony Orchestra conducted by Osmo Vänskä, the sound of the violin up to the 1:25 mark—just before the other strings enter—keeps you holding your breath with its naturalness, three-dimensionality, harmonic richness, and tension that’s only released when the rest of the orchestra joins in. It fills the space behind the soloist, providing a solid foundation for the sonic structure.
I won’t go on with my listening impressions, knowing that Andrea Della Sala will share his thoughts as well. As for the price… I’m tempted to step aside and leave the financial commentary to the Director, who’s more used to handling “heavy” price tags. I’ll simply say this: yes, it’s an expensive piece of gear. But in that price, you’re getting a preamp, a streamer, a DAC, an integrated software system, and—something not to be overlooked—the assurance that you’re making a 20-year investment, thanks to Linn’s upgrade policy. And especially when it comes to digital technology, that’s no small thing.
Giulio Salvioni
LINN KLIMAX DSM NEW GENERATION
The Listening Experience by Andrea Della Sala
The Light of Emotion
For those of you who inexplicably follow my rambling audio reviews, you’ll know I’m anything but self-sufficient when it comes to technology. And that goes for a lot of things, not just digital audio. But for now, let’s stick to audio. I’ve tried—believe me, I’ve tried—to set up a system for streaming music at home, but the result was a disaster. I ended up hurling all sorts of improbable gadgets out the window while muttering ancient Aramaic curses. It’s just not for me. The only person who ever got me sorted with a streaming setup that actually worked was Giulio Salvioni.
But each to their own, right? I’ll always prefer closed systems because tinkering with tech is just beyond me, and I couldn’t care less about it. That’s why I request streamers that only require you to enter your subscription password for various streaming services (and yes, I usually need someone’s help even for that).
So for me, the ideal product is a streamer/DAC combo or, at most, a separate streamer and standalone DAC. That way, I can swap out converters without too much hassle. Enter the Linn Klimax DSM—it seemed tailor-made for me. First off, the display. Have you seen the display on this thing? I mean, have you seen how big it is? And how easy it is to read from three meters away?
(Please, let’s skip my usual sermons about the aging audiophile population and our declining vision, not to mention the fact that I never saw well, even as a youngster, and how so many audio companies seem oblivious to this, producing gear with displays only suited for people with 20/20 vision.)
And then there’s the elegance. It’s the kind of machine that only displays the artist’s name and track title—none of those tiny album covers that make me loathe anyone who can read them from a distance. Obviously, you don’t pick an audio system for its aesthetics or user interface solutions, because at the end of the day, it’s all about sound quality. If it doesn’t sound great, it’s out.
When I finally got my hands on the Klimax DSM (delivered and installed by the folks at Key System, bless them), I was genuinely impressed by its finish. I’d go so far as to say the craftsmanship is flawless, with an outstanding synthesis of aesthetic and functional design.
But what really knocked me off my humble couch was its sound. The newest Linn streamer was connected to my Naim NAC552 preamp and NAP250DR power amp, driving the ever-wonderful ProAc Response Three speakers in my room, treated with 18 Daad panels and a Volcano subwoofer from Acustica Applicata. For cabling, I used Naim NAC A5 for speaker wires, Kimber Kable for power, and Naim again for signal between preamp and power amp.
The Linn streamer was hooked up to the Naim preamp’s RCA inputs via a Linn silver cable that came with the Klimax DSM, though I still don’t know much about it. So, essentially, it was an all-British setup, rekindling memories of the Naim-Linn collaboration from decades ago.
The Linn Klimax DSM is a refined machine, so much so that it demonstrates how top-tier digital sound can indeed be cohesive, continuous, compact, and physically present. In other words, all the qualities we once thought only vinyl could deliver. However, it seems Linn wasn’t aiming to mimic the vinyl experience with the Klimax DSM. Instead, they’re celebrating the digital medium’s arrival at a level of excellence.
Above all else, what sets this streamer apart is the light it shines. The Klimax DSM fills the room with a massive amount of air, excited by music particles that are infinitely small but oh-so-tangible. The sense of physical presence in the sound is astonishing. It’s that extreme smoothness, density, and intensity—just like reality.
And this profound sense of truth in the audio wouldn’t be so overwhelming if it weren’t paired with a tonality I’d describe as perfectly natural. The Linn delivers a crystal-clear, luminous (did I mention that already?), and highly detailed performance, with a surprising amount of punch and drive. What’s more, the bass—though not exactly “deep” in the traditional sense—is remarkable for its control and harmonic richness.
Perhaps this is the most analog part of this digital marvel. It doesn’t engage in a contest with turntables of equal pedigree when it comes to sound quality. No, this is an electronic device that takes the best digital has to offer (silence, dynamics, definition, etc.) and pushes it to heights we’ve been waiting decades to hear.
I’ve worn out both my back and ears (which, thankfully, are still in perfect working order—one of the few things I’ve always been able to rely on, probably because of my notorious poor eyesight) trying to find digital sources that would blow me away. There have been more than a few recently. Back in the day, both the Linn Sondek CD12 and Naim CD555 did the trick—and they’re still very relevant today, even though some critics claim the CD format is now only of interest to a dwindling minority.
Among the newer devices, the three-chassis MSB Select II DAC comes to mind, though it costs six times more than this Linn. It’s awe-inspiring for its extraordinary silence and a black background so dark that nothing else compares. In terms of tonal balance and dynamics, however, the Klimax DSM holds its own. I’m also eagerly awaiting the next version of the four-chassis dCS Vivaldi, which I expect will match or exceed it. Everything else I’ve heard, despite recent advancements and the increasing density of files we can now play, still falls a step or two below this Scottish wonder.
In my room, the Linn stands out for the qualities that, in a short time, become indispensable: harmonic density, gentle clarity that renders the virtual soundstage easy to appreciate, and the control it exerts over the entire spectrum. This makes my Naim DAC, paired with the Moon Mind 2 streamer, sound blurred, lifeless, and—heaven help me—even fatiguing.
The truth is, once you’ve lived with the Klimax DSM for a while, every other digital device that’s not on its level becomes almost unlistenable.
When you send it back at the end of the review, the brain does compensate, fortunately. It took me 20 days of reverse detox before I could listen to anything that wasn’t vinyl.
This is a subtle lesson for those who argue that, at the end of the day, all digital electronics sound the same and that you don’t need to spend a fortune to enjoy music. I wholeheartedly agree with the second part (though I must revise that stance when discussing the pinnacle of today’s domestic audio technology, as we have here). But as for the idea that all digital electronics sound alike… well, only a lack of critical listening experience could support such a theory. I wish it were true, though—because this Klimax DSM has left a huge hole in my heart.
Viva la Musica.
Andrea Della Sala
Captions:
• The huge display shows only alphanumeric indications and a few easily visible graphic elements.
• Detail of the multifunction volume/joystick control and programmable buttons.
• Detail of the Organik DAC board: note the sixteen flip-flop switches per channel and the FPGA below.
• The top board contains the DAC/ADC sections, now shown vertically to highlight the complex cabinet construction.
• Detail of the power supply section’s housing.
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